About The Production
Director Adrian Lyne spins a web of passion and pain in UNFAITHFUL, which he
describes as "an erotic thriller about the body language of guilt."
Richard Gere, Diane Lane and Olivier Martinez star. Lyne also produces with C.
Mac Brown. The screenplay is by Alvin Sargent and William Broyles, Jr. Executive
producers are Pierre-Richard Muller, Lawrence Steven Meyers, and Arnon Milchan.
Adrian Lyne has distinguished himself as one of the cinema's leading
directors with such films as "Foxes." "Jacob's Ladder,"
"Flashdance," "9 1/2 Attraction," "Indecent
Proposal" and "Lolita." UNFAITHFUL carries Lyne's exploration
of relationships to new levels of intensity and danger. The triangle formed by
Richard Gere, Diane Lane, and French star Olivier Martinez (known to American
audiences through his international hits "The Horseman on the Roof' and
"The Chambermaid on the Titanic," as well as "Before Night
Falls") is a startling and suspenseful vision of, as Lyne puts it,
"The smoke screens we put up to hide our guilt."
Lyne has nurtured UNFAITHFUL for many years. Its genesis stretches all the
way to 1968, when "La Femme Infidele," one of the acknowledged
masterworks of French New Wave director Claude Chabrol, made its appearance.
"It was one of my favorite films," says Lyne, "kind of a
Hitchcockian piece wherein a husband gradually became aware that his wife was
having an affair. I always loved it, and I used it as a basis for this film,
Lyne has always shown a strong concern for emotional relationships in his
work, particularly those relationships affected by deception and crises of
trust. "Guilt and sexuality are a fascinating part of that," he
says." I think all of us have a breaking point, where we potentially could
be pushed over the edge. What does it take to bring us that far'? I'm very
interested in the details of deception and suspicion. UNFAITHFUL is a story in
which it may actually be easier for the audience to forgive a murderer than an
adulteress, which is insane, of course!"
After Richard Gere first read the screenplay, he felt haunted by it. "It
was a very textured, very intimate script that was not only interesting, but
disturbing to me," he explains. "You can't get started on a project
unless that mystery and disturbance are there somewhere —
an itch that you've got to give the time and energy to
figure out. What flaw is it in us that can be touched so quickly into violence'?
"I've always been interested in the idea that we're all unknowable
to each other," Gere continues. "In this case we're dealing with a
normal, recognizable American family that has somehow stopped growing. They've
settled into something that is very nice and it works for them, but it's not
taking them anyplace forward. It's not bringing more love; it's not bringing
more intimacy; it's not bringing more truth. So in their separate ways, these
people are discovering some kind of black-hole areas inside themselves. There
are levels of intimacy that just aren't being dealt with between them. We're
all closed up on many levels. We all have layers of armor around us, and I think
that's what we all liked about this story: If we look in the mirror of the
movie, we can see ourselves."
For Gere, the role of the very normal Edward Sumner was a departure.
"Being normal is so hard!" he laughs. "It's much easier being
aberrant. You know, my career's been peopled with a lot of outsiders. But
Edward is not a dashing guy in any way. This is not a guy who's going to win a
fistfight. Adrian was always saying to me, 'Richard no, no! That's the old
Richard. I want the new Richard! I don't want the guy who could have
been the halfback. I want the guy wh
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